A Celebration of Legacy: Larry Fuller in Conversation
Larry Fuller’s career has spanned some of the most influential and transformative moments in musical theater history. As a choreographer and collaborator, his work has been integral to the success of iconic productions like Sweeney Todd, Evita, and Merrily We Roll Along. Known for his creative vision and unwavering commitment to the craft, Larry has had the rare privilege of working with giants like Hal Prince, Stephen Sondheim, and Angela Lansbury. His contributions to the theater world have shaped not only the performances we cherish but also the collaborative spirit that is at the heart of theater-making.
On July 8th, Larry will be celebrated in a special evening as part of Glenn Rosenblum’s Broadway Showstoppers Series at CV Rep. This event promises to be a vibrant tribute to Larry’s incredible career, filled with stories, performances, and behind-the-scenes insights that highlight his pivotal role in bringing some of the most unforgettable moments in musical theater to life. It’s an opportunity to honor not just the shows, but the man who helped shape their success.
In this conversation with Stage and Cinema, Larry reflects on his journey, sharing his thoughts on memorable moments, the art of collaboration, and the stories behind some of the most beloved shows. It’s a rare and insightful look into the legacy of a man whose work continues to inspire generations of artists and theatergoers. Larry’s reflections offer us more than just glimpses into the making of legendary shows; they reveal the passion, dedication, and humility that have defined his remarkable career. In his words, we find a testament to the power of collaboration, the importance of staying true to the work, and the lasting impact of a creative journey. As he continues to inspire both audiences and fellow artists, Larry’s legacy reminds us that the magic of theater is found not just in the names we celebrate, but in the stories, struggles, and joys of the artists who bring them to life. The celebration of his work at CVRep on July 8th will surely be a fitting tribute to this incredible legacy.
Larry Fuller and former "Maggie" & "Cassie" Stephanie Eley (center on couch) with the
National Tour of A Chorus Line after a performance at McCallum Theatre in Palm Springs;
the character of "Larry" is named after Mr. Fuller.
How does it feel to have your career celebrated in this format with Glenn Rosenblum and CVRep’s Broadway Showstoppers series?
It feels great, honestly. It’s a chance to reflect on some of the best moments from my career—the times when creating the work was pure joy. Getting to share those memories with Glenn and the CV Rep audience just makes it even more special.
Cast and creative team of Merrily We Roll Along.
You have an incredible legacy in your own right and what does it mean to you to have a played a key role in helping to birth the legacies of the likes of Hal Prince and Stephen Sondheim? Can you share a particularly memorable moment working with them?
I had the privilege of working on two shows with Hal and Steve—Sweeney Todd and the original Merrily We Roll Along. Sweeney Todd was actually Steve’s idea. He’d seen a fringe production in London of an old melodrama about the legend, and that sparked the idea to turn it into a musical. It was the first time he brought a concept to Hal. After reading the first draft, which was only about a third musicalized, I turned to Hal and said, ‘How the hell are we going to do this?’ I also asked, ‘Why did you decide to do it?’ and Hal replied, ‘Because I was always the one bringing projects to Steve, and he was always agreeable to working on them. This was the first time Steve brought something to me. I couldn’t say no.’
It’s hard to put into words what it means to have played a part in shaping the legacies of Hal and Steve, but those moments working with them—seeing the way they collaborated and how deeply they trusted each other—will always stand out to me.
Larry Fuller coaching Elaine Stritch for an elaborate fashion show at the Liberty of London department store (Getty Images)
What do you remember most vividly about the original Merrily We Roll Along? That show has had such a unique trajectory—from initial failure to cult status and recent tremendous success on the West End and Broadway. What do you think Hal and Stephen would say if they were here to witness that?
What I remember most vividly about Merrily We Roll Along was the whirlwind of it all. I took over as choreographer during previews, replacing Ron Field. It was like doing summer stock again—choreographing at least one number a day, with no time to rest on my laurels. I redid everything except, frankly, Bobby and Jackie and Jack. I told Hal there was no way I could do everything that needed doing in the time originally allotted, and he agreed to extend previews for 10 days. That was just enough time to make the necessary changes. I was so focused on getting everything done in time so we could open.
The cast was mostly made up of young, unseasoned performers—those poor kids—they didn’t know what hit them, but it improved the show, and Hal thought so too. I was emotionally drained when it was over, and when it flopped, it took me about a month before I could even listen to the cast recording. But when I finally did, I realized what a fabulous score it was. It was so much more than I had initially considered—working through it number by number, I hadn’t seen it as a whole piece.
As for Hal and Steve, I’m sure Hal would’ve given the show his blessing, and Steve would be thrilled. It’s such a fantastic score—really his last musical comedy score, although not quite a comedy. It came before Sunday in the Park With George, Into the Woods, and Passion, which all took a much darker turn. In fact, Passion was an entire score with no songs—just recitative. I still think Sweeney Todd is Steven’s masterpiece, but Merrily is undeniably special.
You’ve worked with so many incredible creatives and performers. What qualities do you value most in a collaborator?
Of course, exceptional talent always helps, but what really matters is a lack of ego. I value collaborators who are there to work and do a great job. Angela Lansbury was the epitome of that. She came in just like any other actor, part of the company, and went straight to work. She was truly egoless, so to speak.
When you look back over your expansive career, what surprised you the most?
Evita’s success was a complete surprise. I had no idea how the audience would react. We were breaking new ground—nothing like it had been done before. Luckily, the creative team was so in sync with each other. We were connected at the hip with our vision. I remember the first performance in London when the company opened. Hal hadn’t really planned a specific curtain call yet. He just told the cast, ‘When the curtain comes down, stay on stage. Six features will exit, and then, when it goes up again, the company will bow and the features will come out one by one.’ During the initial bows, the applause was slow—almost hesitant—and I thought, ‘Oh shit, we’re in trouble.’
We were in the house left aisle. Ruth, Hal, and I went through the lower lobby to come back in from house right and head to the exit that would get us backstage. When we re-entered, something was happening. The audience was still applauding, almost hypnotically. Then the curtain went back up, and the cast scrambled to get back on stage, not expecting another curtain call. The audience went wild. Hal turned to Ruth and me and said, ‘Well, I guess they liked it.’ That’s when I knew it had worked.
Patti LuPone and Larry Fuller rehearsing for the Broadway production of Evita.
(courtesy of NY Public Library)
What advice would you offer to young performers or directors who are passionate about musical theatre but unsure how to find their voice in the industry?
Your voice is found in the work. You can’t really know what you have to say or how to say it until you’re out there doing it.
Of all the showstopping numbers you’ve helped bring to life, is there one that still gives you chills?
Evita, without a doubt. The subject matter makes a crucial statement: ‘Don’t be swayed by what you see or hear. Pay attention to their actions.’ ‘They’ being the public figures who have influence over our lives and culture. What’s so rare about Evita is that we created something dangerous and bold—yet it became a massive commercial success. We pushed the limits of creativity, doing something new and unusual
What do you hope the audience walks away with from this celebration of your work?
I believe Glenn is going to touch mostly on the celebrities I’ve worked with and that experience because that’s what the audience would know. But I hope, beyond the star names, they’ll get a sense of the stories that shaped me as a person. I think Glenn might ask about working with Hal and some of the other writers—those moments really taught me a lot about myself and the craft. I’d love for the audience to walk away with a sense of the passion and dedication behind the work, not just the glitter of the names. It’s all about the journey and the people who made it unforgettable.
Tuesday, JULY 8th, 2025 at 7
BROADWAY SHOWSTOPPERS SERIES with GLENN ROSENBLUM celebrating the career of our own local LARRY FULLER, Tony Award and Drama Desk Nominee.
Special Guests: Leslie Tinnaro and Kelly Lester
Musical Director: Eddy Clement
